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The Art Of Make-Up:
 Evolution Of "make-up"

 What Is "make-up?"

 Individuality Submerged In A Clever "make-up"

 Application And Removal Of "make-up"

 Fundamental Rules

 In The Dressing Room

 Optical Influence And Delusion Through Lighting Effects

 The Make-up Box

 The Hair

 Beards And Mustaches

 Read More Articles About: The Art Of Make-Up

Fundamental Rules

( Originally Published Early 1900's )

Nature in her infinite wisdom has, we are told, created all men alike with the exception of the facial lines, formation of head, etc. Hence, fundamental rules in the art of make-up are one of the elementary factors with which the artist has to cope. The architect commissioned to erect an edifice is obliged to observe minutely the fundamentals of building laws when laying his foundation upon which the structure is to stand. Regardless of the many obstructions he may encounter, such as rocks, sand and other obstacles, he must lay his foundation upon a perfectly leveled, well prepared and cultivated ground, ofttimes artificially built in order to make way for the plans of the structure itself. As the architect cultivates the natural ground, so must the successful artist cultivate and lay the foundation upon his own lines bestowed by nature before applying the make-up for the character he is to portray on the stage. Inas-much as the facial lines are vastly different, it is utterly impossible to work out one specific rule to apply simultaneously to every one. But if the fundamental rules, based upon per-sonal experience and also upon collected data from some of the greatest celebrities of the stage, are followed, desirable result; will be achieved.

1. Apply the ground or flesh color I efore you attempt details of your make-up. Refrain from manipulating the eyes until you have completed the ground color.

2. Every subsequent line or a application should be well thought out with a relentless eye to the character about to be portrayed. Each line must have a meaning, describing some desired haracteristic.

3. Know the individuality of your own face. Do not copy from your colleagues; study from life and make the character as realistic as possible, bearing in mind y Dur own ground upon which to build.

4. In the event of an artificial nose being needed in your make-up, be sure to shape the nose before you begin your ground-work.

5. Whenever occasion arises for the use of spirit gum, no grease paint or other oily substance should remain on the skin.

6. In the portrayal of a lively character, less coloring should be used. In faci , always avoid too many colors, as they have a tendency to disharmonize your mimicry.

7. Wrinkles and hollows are made more effective when kept in one color (dark red or brown) ; darkening or lightening this color in accordance with lighting effects used during the performance (see following paragraphs).

8. Pronounced white colors when confronting strong lights are too abrupt and should be avoided. Bear in mind that high lights and all light lines or points are brightening with a decided tendency of bringing you in closer proximity to the audience, whereas dark lines are narrowing and denote distance.

9. Keep from using black color alone except for "beauty spots" or when to effect a dental illusion, such as a missing tooth.

10. In order to make a beard or mustache appear natural, the hair (artificial) should be smoothed and pressed gently, yet firmly, against the skin with a towel or cloth until the spirit gum is almost dry. An impor-tant touch when applying a false beard is the "joining touch," that is, for example, when you apply a full beard to the chin and you have naturally a divided or dim-pled chin, be sure to affix the beard, fol-lowing natural lines; thus the reality of your make-up is materially enhanced.

11. Particular care must be take i that all materials, paints, cosmetics, c )lors, etc., are absolutely fresh and of superior quality.

12. The avoidance of a wig, when !ver possible, is suggested, as your own 1 air can be made to harmonize with you: make-up after a little practice.

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